MONNAIE DE SINGE

MDS is 100% Cantal, MDS is a project founded in 1995 to play modern progressive rock strongly inspired by PORCUPINE TREE and BLACKFIELD. After releasing three albums, they reformed with a new line-up in 2014 and released their 3rd album here on a sound that was also reshaped, atmospheric and nervous, dubious and intimate, limit post rock at times. MDS tells the true story of a woman suffering from psychiatric disorders who gives her soul to the devil and who will see her wish fulfilled by seeing him again in the guise of Breivik ... thanks to him, you have the following chronicle, will you give your soul too?

"Rose Øla Seks" begins soaring, monolithic which recalls certain melancholic depressive groups, slightly doom; Anne's voice is a plus in this group, often remaining monotonous and letting the sounds of the instruments explode which is the case halfway through. Philippe's keyboards give a touch of SF while Christophe's 1st solo in crystal-clear slide guitar makes you shiver, a good first attempt on the final in crescendo. In short, the tone is set in a beautiful way. "D @ rknet" goes on more electric rock, atmospheric remembrance of recent INHABITANTS; Anne comes out on a nervous tone, phased at times like Chrissie Hynde from afar; the association of the two rhythmic guitars gives a greasy sound, THE GATHERING comes right back to me with this keyboard hovering as it should. "Evil" creepy start,distant riff which suddenly explodes, is the devil really there? A languid, atmospheric title, dark much more in the line of THE GATHERING than the PORCUPINE TREE; Eric's drums carry out their work with wisdom and brutality by revisiting their pads and print a nervous air until the appearance of the progressive break perhaps too far behind, there are possibilities for it to explode even more. "Three Days in Hell" rolling pads again, is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.atmospheric, darker in the line of THE GATHERING than the PORCUPINE TREE; Eric's drums perform their work with wisdom and brutality by revisiting their pads and print a nervous air until the appearance of the progressive break perhaps too far behind, there are possibilities for it to explode even more. "Three Days in Hell" rolling pads again, is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.atmospheric, darker in the line of THE GATHERING than the PORCUPINE TREE; Eric's drums perform their work with wisdom and brutality by revisiting their pads and print a nervous air until the appearance of the progressive break perhaps too far behind, there are possibilities for it to explode even more. "Three Days in Hell" rolling pads again, is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.Eric's drums perform their work with wisdom and brutality by revisiting their pads and print a nervous air until the appearance of the progressive break perhaps too far behind, there are possibilities for it to explode even more. "Three Days in Hell" rolling pads again, is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.Eric's drums perform their work with wisdom and brutality by revisiting their pads and print a nervous air until the appearance of the progressive break perhaps too far behind, there are possibilities for it to explode even more. "Three Days in Hell" rolling pads again, is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.is Hell roaring? Bon Anne is very gentle here on a rhyme ballad from beyond the grave, yes it's easy but I wanted to do it; Christophe's slide guitar is magical, churning out notes that chill your spine throughout this journey; the most pop tune with a melody that fits the ears and flows naturally.

"The Story Ends There" spleen intro quickly countered by Anne supported by synth layers, primary monolithic phrasing bringing the guitars in the background and a rhythm that makes you move your head, invites you to trance; more consensual title thereafter with soaring and atmospheric digressions and a chorus that never ends. "Elias" gloomy, sends me back and you have to see it as a compliment to THE GATHERING for the orchestration, the mysterious synth and the R. Rutten guitars in the distance as if in retreat but distilling and embellishing the air of '' Elias' found; the crescendic finale as a hallmark of the group. "From Utøya" new wave synth à la Gary NUMAN then it goes, drums responding to the guitar riffs engaged and very present on this last title; Anne's voice is more sustained, soft and nervous, she changes rhythm,deep and gives the title a more scratchy flavor; we must not try to wait for an instrument to explode here, these are all the instruments that provoke the rise, a sound image of the cruelty that has raged on this island, a final hovering melancholy of despair over a fact of society.

MDS is making its way, a nod to Anne, the singer, small on foot but tall on stage, with her voice, her presence and her energy. MDS distills a spatial rock, a dark rock, austere, melancholic at the limit of the post and the atmospheric; MDS knew how to renew itself, to release magnificent guitar solos which give relief to this album magnified in live listening.

What I love most about this album is the simple music used to help deliver the POWERFUL messages of the songs' lyrics. They're singing about something real! They're singing about Collapse, the self-destructive, suicidal practices of the most-likely soon-to-be-extinct human race. Though the music is more straightforward heavy rock, not very proggy, the musicians are all competent and never flashy to the detriment of singer Anne Gaëlle Rumin's performances. The rhythm section is especially strong, giving Anne perfect support and impetus throughout. Anne has a strong voice with very good pronunciation of the English lyrics she sings, but it is the conviction with which she sings that make her performances so powerful.

01. "I AM" (6:36) a solid rock song to support the delivery of a powerful and unique message. (9/10)

02. "Seven billions dreams" (5:24) heavy prog with a heavy feel to it as Anne delivers a very provocative message in an almost-Madonna-like voice! Great melodies. Very powerful. (8.5/10)

03. "Emergency" (7:17) solid heavy song with multiple background vocal tracks, catchy melody, nice electric guitar work in the solo C section, and a fairly constant build of tension to crescendo. (8.5/10)

04. "Earth" (6:14) another perfectly supported musical composition for a very heavy, depressing message. A top three song for me. (9/10)

05. "The Last Chance" (6:46 ) opens with a little more help from computer techno sounds and effects. Anne comes in singing in a lower register--almost SIOUXSIE and the Banshees. The song kicks in for the chorus with its great melody and drumming. Ominous computer voice and angular electric guitar noises bridge to the second verse--this time with the band performing at high octane. Great guitar chord progressions for the chorus section, great vocal. Reminds me of Brittany's CHILDREN IN PARADISE. Another top three song for me. (9/10)

06. "Not under 50" (5:38) a kind of men's anthem for this album's theme, with Philippe Glayat doing the lead vocals. The music has a simplified "demo" sound and feel to it with stripped down sound palette and one singular distorted guitar strumming away. The lyric is quite powerful, asking whether or not it's appropriate to keep planning a future when things look so bleak for the planet. (8/10)

07. "December 3003" (2:42) another song quite reminiscent of 1980s SIOUXSIE AND THE BANSHEES or THE THE with Anne Gaëlle back in the vocal delivery seat. Astronaut space chatter fills the background throughout this brief one. (8/10)

08. "Magic tree" (4:47) starts out as a continuation or variation of the previous song. Anne's spoken singing is backed by electric guitar and electric piano arpeggi until the third minute when a nice full-band groove takes over driving the music very strongly forward. Simple, corny chorus using only the title. I really like the dynamic shifts and underlying feel to this song but am disappointed in the sound and chorus. (8.25/10)

09. "Lucky Star" (5:36) computer clicks and slow piano arpeggi open this before an awesome single electric guitar chord injects a base for Anne's voice to enter. The song develops a little too simplistically, with very basic rock guitar sounds, power chords, and sequencing. The more spacious, delicate third minute is awesome but then we jump back into the power chords for the chorus support. The effected vocal section of the fifth minute is awesome, Anne's desperation sounding authentic. A bare-bones run through the chorus makes the following amped up run more tolerable. (8.5/10)

10. "Happy Birthday" (5:57) a tongue-in-cheek sarcastic message as the finale to this provocative album is quite appropriate. The song starts out fairly perfectly and then loses a lot of its initial charge once the Mellotron and final flow are established. Still, this is my favorite song on the album. (9.25/10)

Four stars; an excellent addition to any prog lover's music collection--and one with a very cogent and important message for our species.